>So when you say a mixolydian feel in lydian, are you saying put a flat
>7 in the melody?
The flat seventh is the triton of the major third.
It makes a chord unstable, the harmony has to be resolved to the major chord
one fifth upside, the melody won't end won't be resolved until this major chord
is not played, that's why a flat seventh chords gives suspens in a tune.
>I don't understand this:
>"we just have to insist on the pattern of the lydian arpeggio, for
>having a lydian sounding mixolydian, where the chord would also tend
>to be the fourth of the major scale with using the fifth note for the
>bass."
>Could you
give me an example?
On a G7 playing F A B C E would make your melody sounding lydian,
A C D E G, would make it sounding eolian, and so on...
That's how I am thinking (I might be wrong with the term, but it gives beatiful results)
> Zappa scores are hard to come by.
If you want Zappa scores, I've made plenty.
(and I share this scores with anyone that is motivated to play his music).
I've made an example for showing what I've been telling about voicing,
it's attached, the undocumented patch is just playing I - VI - II - V
with following randomised notes, it's very basic, feel free to improve it.
Patco.